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So, just make sure you read it first, and then go to Step One. What this means to you is that some things are covered twice in the book. A version of Bridge is built right into Photoshop itself. Well, barely anything which gives you some hint as to the future of Bridge, eh?

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Anyway, they did greatly improve and streamline Mini Bridge, but since some of you may still be using Big Bridge for at least a little while longer at least until you fall in love with Mini Bridge , I did update two Big Bridge chapters, and put them on the web for you to download free. In fact, I had a hard time finding any photographers I know still using Curves, which just shows how Photoshop has evolved over time. You can find it at the web address just mentioned in 6.

These are in addition to all the other tips, which already appear throughout the chapters you can never have enough tips, right? Remember: He who dies with the most tips, wins! Way back in Photoshop 7, we had a feature I loved called the File Browser, which let you access your images from right within Photoshop. I loved that it was more powerful, but I hated that it was a totally separate program, and now I had to leave Photoshop to get to my images.

Step Two: background, Mini Bridge comes alive, displaying your images in a horizontal filmstrip layout as seen here. On the left side of the panel is the Navigation pod, which is where you navigate to the photos you want to appear in Mini Bridge. Here, I chose my Pictures folder, and below the pop-up menu, it lists the folders I have inside that folder.

Step Three: My favorite way to navigate is to use the new pop-up menus that appear right above the filmstrip itself—these make getting right to the folder you want really quick and easy. If you click on the little right-facing arrow to the right of each folder in the Path Bar, a pop-up menu appears with a list of the subfolders inside that folder. By the way and this may seem insanely obvious, but… , to open any of these images in Photoshop, just double-click on one.

Step Four: To change the size of the thumbnails when Mini Bridge is docked to the bottom of the screen, you just change the size of the Mini Bridge panel itself. Clickand-drag the top of the panel upward and, as you do, the thumbnails grow to fill in the space as seen here. Step One: By default, Mini Bridge is set up in a wide filmstrip layout, and is docked to the bottom of your screen, like the one you see here.

However, you can undock it and have it work like any other floating panel in Photoshop. Doing this also reveals a thumbnail size slider in the bottom-right. Again, if you want your thumbnails bigger, you have to drag the left side of Mini Bridge out to the left, and as it gets wider, the thumbnails grow to fill in the space.

Instead, you can get an instant full-screen preview by clicking on a thumbnail, and then pressing the Spacebar on your keyboard. That image goes full screen as shown here , so you can get a good look at it. To see the next image in the filmstrip, just press the Right Arrow key on your keyboard and, of course, to go to a previous image, use the Left Arrow key. One of my favorite features of Mini Bridge is Review mode, because this is where Mini Bridge really feels big!

By making your images much larger onscreen, it makes it much easier to find your best shots, and Review mode really makes whittling things down to just the best shots from your shoot so much easier. Step Two: When you choose Review Mode, it enters a full-screen view with your images in a cool carousel-like rotation as seen here. This mode is great for two big reasons: The first being it makes a really nice onscreen slide show presentation. You can use the Left and Right Arrow keys on your keyboard to move through the photos or the arrow buttons in the lower-left corner of the screen as a photo comes to the front, it becomes larger and brighter.

If you want to open the image in front in Photoshop, press the letter O. To open the front photo in Adobe Camera Raw, press R. To leave Review mode, press the Esc key. If you forget any of these shortcuts, just press H. Step Three: The second reason to use Review mode is to help you narrow things down to just your best photos from a shoot. Start by Command-clicking PC: Ctrl-clicking on just those photos in the filmstrip to select them, and enter Review mode. Step Four: Like I mentioned, once you fall below five images, you no longer get the carousel view.

In Review mode, you can zoom in tight on a particular area using the built-in Loupe. Just move your cursor over the part of the photo you want a closer look at, and click to bring up the Loupe for that photo as shown here, in the image in the top right. To move it, click-and-hold inside the Loupe and drag it where you want it. To make it go away, just click once inside it. Ah, finally we get to the fun part—sorting your photos. That way, you can view them as slide shows, post them on the web, send them to a client for proofing, or prepare them for printing. If you want to change how they are sorted, click on the Sort icon it looks like up and down arrows near the left end of the Toolbar, and a pop-up menu of options will appear as seen here.

Now, use the Left and Right Arrow keys on your keyboard to move through the fullscreen images. For all the rest of the photos, you do absolutely nothing. So, why not use the entire star rating system? What about your 3-star ones? We keep them, too. Click-and-hold on the Filter Items by Rating icon at the right end of the Toolbar it looks like a funnel and choose Show Rejected Items Only as shown here to see just the Rejects. Step Seven: At this point, we want to set things up so that, in the future, these 5-star photos are just one click away at any time, and we do that using collections which are stored in Big Bridge.

Click it, and it brings up a dialog where you can name and save your images to a collection. You can use the same shortcut to remove the Reject label. Step Eight: When you click that Save button, a collection of just these photos is saved. Now these best-of-that-shoot photos will always be just one click away. Step One: At the top-right corner of the Mini Bridge panel is a search field. Or, 3 you can use a standard Bridge search which searches just the filename and any embedded keywords to narrow things down in just your current folder.

To leave the search results and return to your previous folder of images, just click the Back button the left arrow at the top-left corner of the Mini Bridge panel. Now, Mini Bridge and Big Bridge will both display the same folder of images. You can also do other things from this pop-up menu, like add a color label to your image, or add a star rating, or rotate the file.

Dragging-and-Dropping Right from Mini Bridge If you already have a document open in Photoshop, you can drag-and-drop an image directly from Mini Bridge right into that document and it appears as a smart object not too shabby! If the. Just drag-and-drop your image from Mini Bridge right into the center area where your document would normally be, and it opens your photo in a new image window. You gotta try this! But there are. The numbers 1—5 also add star ratings, and 6—9 add color labels. Lastly, just press the H key to get a list of the slide show shortcuts. One thing to know: this only works with one image at a time.

Click the Reveal in Bridge icon at the top left of the panel to jump to Big Bridge, then in the Folders panel at the top left of the window , find the folder you want to make a favorite. Once you find it, Right-click on it and choose Add to Favorites from the pop-up menu, then click the Return to Adobe Photoshop icon the boomerang icon in the top left of the window to jump back to Photoshop. This highlights the name field and you can just type in the new name you want. Technically, you can. You need to click-and-hold on that Format pop-up menu, and from that menu choose Camera Raw, as shown here.

However, if you just want to save the changes you made in Camera Raw without opening the photo in Photoshop, then click the Done button instead as shown here , and your changes will be saved. Just so you know.

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One problem was that the Exposure slider covered too much of that range—from the midtones all the way through the highlights see 3 in the histogram on the left here. If you do clip the highlights perhaps in-camera , you now use the Highlights slider first to fix the clipping, and tweak the Exposure slider, if necessary.

Step Two: However, the processing technology being used on your photo at this point is actually out-of-date. Step Three: Of course, you could choose the current process version from that pop-up menu and your image will be updated to the current processing power, and all the new, improved sliders will appear in the Basic panel.

In this image, once I updated to the process version, I was able to increase the Clarity more without creating halos , and I bumped up the Exposure a bit, too. Step Two: The default profile will be Adobe Standard. At the very least, I would change it to Camera Standard, which I think usually gives you a better starting place as seen here.

Again, this is designed to replicate the color looks you could have chosen in the camera, so if you want to have Camera Raw give you a similar look as a starting point, give this a try. Also, since Camera Raw allows you to open more than one image at a time in fact, you can open hundreds at a time , you could open a few hundred images, then click the Select All button that will ap-. Now, you can just click the Done button. Unless you took the shot in an office, and then it probably had a green tint.

If you just took a shot of somebody in the shade, the photo probably had a blue tint. Luckily, we can fix them pretty easily. At the top of the Basic panel on the right side of the Camera Raw window , are the White Balance controls. Step Two: There are three ways to change the white balance in your photo, and the first is to simply choose one of the built-in White Balance presets. Here I tried each preset and Flash seemed to look best— it removed the bluish tint and made the background gray again.

Step Three: The second method is to use the Temperature and Tint sliders found right below the White Balance preset menu. The bars behind the sliders are color coded so you can see which way to drag to get which kind of color tint. What I like to do is use the built-in presets to get close as a starting point , and then if my color is just a little too blue or too yellow, I drag in the opposite direction.

So, in this example, the Flash preset was close, but made it a little too yellow, so I dragged the Temperature slider a little bit toward blue and the Tint slider a tiny bit toward magenta. By the way, I generally just adjust the Temperature slider, and rarely have to touch the Tint slider. Also, to reset the white balance to where it was when you opened the image, just choose As Shot from the White Balance pop-up menu as seen here. Step Five: The third method is my personal favorite, and the method I use the most often, and that is setting the white balance using the White Balance tool I.

This is perhaps the most accurate because it takes a white balance reading from the photo itself. So, take the tool and click it once on the background near her hair as shown here and it sets the white balance for you. It was a little dark, so I bumped up the Exposure a little, too. White balance is a creative decision, and the most important thing is that your photo looks good to you. You are the bottom line. Accurate is not another word for good. By the way, you can just Rightclick on your image to access the White Balance pop-up menu as shown here. Once your lighting is set, just have your subject hold it while you take one shot.

Then, open that image in Camera Raw, and click the White Balance tool on the. Now, apply that same white balance to all the other shots taken under that same light more on how to do that coming up in the next chapter. However, in CS6, it works best if you start by getting the Exposure midtones set first, and then if things look kind of washed out, adding some Contrast the contrast slider in CS6 is way, way better than the one in CS5 and earlier, which I generally avoided.

Taken in harsh, unflattering light, it needs some serious Camera Raw help. Step Two: Start by adjusting the Exposure slider. This photo is way overexposed, so drag it to the left to darken the midtones and the overall exposure. Here, I dragged it over to —1. These two steps—adjusting the Exposure and then the Contrast slider if necessary —should be your starting points every time.

This top-down approach helps, because the other sliders build off this exposure foundation, and it will keep you from having to constantly keep tweaking slider after slider. See that triangle? First, go up and click directly on that white triangle and the areas that are clipping will appear in red look on her arm. Step Five: If that red highlight shows over an area you feel has important detail her arm and other areas here certainly seem important to me , go to the Highlights slider and drag it to the left until the red areas disappear here, I dragged the Highlights slider to the left to — Now, in CS6, the Shadows slider works with the Exposure slider to give you better results than the old Fill Light slider alone could give.

Start by bumping up the Exposure, and then the Contrast the Shadows slider will work much better when you tweak these first.

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That overprocessed Fill Light look from previous versions of Camera Raw is gone. Instead, we have a much more natural-looking edit. Now we can jump back to our original image. Step Nine: The last two essential exposure sliders are the Whites and Blacks. Most of the time, if I use the Whites slider which controls the brightest highlights , I find myself dragging it to the right to make sure the whites are nice and bright white and not light gray , but in this instance, I was using the Whites slider to pull the whites back a bit to help hide the fact that it was shot in harsh, direct daylight , so I dragged it to the left to darken the whites to around — I also increased the deepest shadows by dragging the Blacks slider to the left just a little bit here, I dragged over to — I still use this slider if, near the end of the editing process, I think the color needs more oomph, as this helps the colors look saturated and less washed out.

Again, I recommend doing all of this in a top-to-bottom order, but just understand that not every image will need an adjustment to the Highlights and Shadows—only mess with those if you have a problem in those areas. Step One: Once you have an image open in Camera Raw, you can have Camera Raw take a stab at setting the overall exposure using the controls in the Basic panel for you by clicking on the Auto button shown circled in red here.

Now, Camera Raw will evaluate each image and try to correct it. The Clarity slider which is well-named basically increases the midtone contrast in a way that gives your photo more punch and impact, without actually sharpening the image. I add lots of Clarity anytime I want to enhance the texture in an image, and it works great on everything from landscapes to cityscapes, from travel photos to portraits of men—anything where emphasizing texture would look good. Any image I edit where I want to emphasize the texture landscapes, cityscapes, sports photos, etc. However, you can also use the Clarity control in reverse—to soften skin.

Step Two: If you want more contrast, choose Strong Contrast from the Curve pop-up menu as shown here , and you can see how much more contrast this photo now has, compared with Step One. The difference is the Strong Contrast settings create a steeper curve, and the steeper the curve, the more contrast it creates. There are two different types of curves available here: the Point curve, and the Parametric curve. To add adjustment points, just click along the curve. To do that, click on the Presets icon the second icon from the right near the top of the Panel area to bring up the Presets panel.

This brings up the New Preset dialog shown here. If you just want to save this curve setting, from the Subset pop-up menu near the top, choose Point Curve, and it turns off the checkboxes for all the other settings available as presets, and leaves only the Point Curve checkbox turned on as shown here. Step Six: The Highlights slider controls the highlights area of the curve the top of the curve , and dragging it to the right arcs the curve upward, making the highlights brighter.

Right below that is the Lights slider, which covers the next lower range of tones the area between the midtones and the highlights.

Dragging this slider to the right makes this part of the curve steeper, and increases the upper midtones. The Darks and Shadows sliders do pretty much the same thing for the lower midtones and deep shadow areas. Here, to create some really punchy contrast, I dragged both the Highlights and Lights sliders to the right, and the Darks and Shadows sliders to the left. Step Seven: Another advantage of the Parametric curve is that you can use the region divider controls under the curve to choose how wide a range each of the four sliders covers.

So, if you move the far-right region divider to the right, it expands the area controlled by the Lights slider. Now the Highlights slider has less impact, flattening the upper part of the curve, so the contrast is decreased. Just move the tool over the part of the image you want to adjust, then drag upward to lighten that area, or downward to darken it this just moves the part of the curve that represents that part of the image.

A lot of photographers love the TAT, so make sure you give it a try, because it makes getting that one area you want brighter or darker easier. In the example shown here, I clicked and dragged upward to brighten up that shadowy area on the left, and the curve adjusted to make that happen automatically. You can get Camera Raw to tell you exactly which part to adjust.

Move your cursor over the background area you want to affect, pressand-hold the Command PC: Ctrl key, and your cursor temporarily changes into the Eyedropper tool. Click once on your image and it adds a point to the curve that corresponds to the area you want to adjust. Now, leave the center point where it is, drag the top point straight upward, and drag the bottom point straight down to create the curve you see here at the far left. The area to be cropped away appears dimmed, and the clear area inside the border is how your final cropped photo will appear.

If you want to see the cropped version before you leave Camera Raw, just switch to another tool in the toolbar. Note: If you draw a set size cropping border and want to switch orientation, click on the bottom-right corner and drag down and to the left to switch from wide to tall, or up and to the right to switch from tall to wide. Step One: The Crop tool C is the sixth tool from the left in the toolbar. By default, you click-and-drag it out around the area you want to keep, and like in Photoshop, you have access to a list of preset cropping ratios. To get them, click-and-hold on the Crop tool and a pop-up menu will appear as shown here.

The Normal setting gives you the standard drag-itwhere-you-want-it cropping. However, if you choose one of the cropping presets, then your cropping is constrained to a specific ratio. To bring back the cropping border, just click on the Crop tool. If you want your photo cropped to an exact size like 8x10", 13x19", etc. You can choose to crop by inches, pixels, or centimeters. Click OK, click-and-drag out the cropping border, and the area inside it will be exactly 8x10". If you click the Open Image button, the image is cropped to your specs and opened in Photoshop.

If, instead, you click the Done button, Camera Raw closes and your photo is untouched, but it keeps your cropping border in place for the future. TIP: Seeing Image Size The size of your photo and other information is displayed below the Preview area of Camera Raw in blue underlined text that looks like a web link. When you drag out a cropping border, the size info for the photo automatically updates to display the dimensions of the currently selected crop area.

However, if you click the Save Image button and you choose Photoshop from the Format pop-up menu as shown , a new option will appear called Preserve Cropped Pixels. If you turn on that checkbox before you click Save, when you open this cropped photo in Photoshop, it will appear to be cropped, but the photo will be on a separate layer not flattened on the Background layer.

So the cropped area is still there—it just extends off the visible image area. When you open multiple photos, they appear in a vertical filmstrip along the left side of Camera Raw as shown here. A tiny Crop icon will also appear in the bottom-left corner of each thumbnail, letting you know that these photos have been cropped in Camera Raw. Step Seven: Another form of cropping is actually straightening your photos using the Straighten tool. Now, click-and-drag it along the horizon line in your photo as shown here. When you release the mouse button, a cropping border appears and that border is automatically rotated to the exact amount needed to straighten the photo as shown in Step Eight.

If you click Open Image instead, the straightened photo opens in Photoshop. TIP: Canceling Your Straightening If you want to cancel your straightening, just press the Esc key on your keyboard, and the straightening border will go away. So, just pressand-hold the Shift key when you doubleclick on the RAW file in Mini Bridge, and the image will open in Photoshop, with the last set of edits already applied, skipping the Camera Raw window altogether.

If those sound like your favorites, you can save yourself some time by jumping directly to the one you want using a simple keyboard shortcut. To run through the different shortcuts, just try different letters on your keyboard. Instead, to get back to the original way your image looked when you first opened it in Camera Raw, go to the Camera Raw flyout menu and choose Camera Raw Defaults. Deleting Multiple Images While Editing in Camera Raw If you have more than one image open in Camera Raw, you can mark any of them you want to be deleted by selecting them in the filmstrip on the left side of Camera Raw , then pressing the Delete key on your keyboard.

To remove the mark for deletion, just select them and press the Delete key again. Just press Command-1, -2, -3 PC: Ctrl-1, -2, -3 , and so on, to add star ratings up to five stars. You can also just click directly on the five little dots that appear below the thumbnails in the filmstrip on the left. Jump to Full Screen Mode in Camera Raw If you want to see your image in Camera Raw as large as possible, just press the F key, and Camera Raw expands to Full Screen mode, with the window filling your monitor, giving you a larger look at your image.

A little hint of the hot spot comes back, so it looks more like a highlight than a shine it actually works really well. You can do something similar in Camera Raw when using the Spot Removal tool set to Heal by removing the hot spot or freckle, or wrinkle and then using the Opacity slider in the Spot Removal options panel. As good as digital cameras have become these days, when it comes to exposure, the human eye totally kicks their butt. But when we open the photo, the subject is basically in silhouette. Open the photo you want to doubleprocess. In this example, the camera properly exposed for the sky in the background, so the rock formation in the foreground is a silhouette.

Plus, by double-processing editing the same RAW photo twice , we can choose one set of edits for the sky and another for the rocks, to create just what we want. Now, press-and-hold the Shift key, and the Open button changes to Open Object as seen here. Click it. Now we need a second version of this image, because the sky looks way too light in this version. We need to be able to edit these two layers separately from each other. Basically, we need to break the link between the two layers. To do that, go to the Layers panel, Right- click on the layer, and from the pop-up menu that appears, choose New Smart Object via Copy.

This gives you a duplicate layer, but breaks the link to the original layer. So, drag the Exposure slider way over to the left I went to —0. Once the sky looks good, click OK. Step Five: You now have two versions of your photo, each on a different layer—the brighter one exposed for the rocks in the foreground on the bottom layer, and the darker sky version on the layer directly on top of it—and they are per fectly aligned, one on top of the other. Now what we need to do is combine these two different layers with different exposures into one single image that combines the best of both.

So, get it from the Toolbox and paint over the rocks and foreground, and it selects them for you in just a few seconds as shown here.

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Step Six: Go to the Layers panel and click on the Add Layer Mask icon at the bottom of the panel shown circled here in red. This converts your selection into a layer mask, which hides the light sky and reveals the new darker sky layer in its place as seen here. Well, except for those blue mountain areas on either side of the base of the rocks, which look kind of funky.

If you make a mistake, switch your Foreground color to white and paint over your mistake to erase the spillover. Go under the Select menu and choose Refine Mask. This brings up the Refine Mask dialog you see here. In the Edge Detection section, turn on the Smart Radius checkbox and drag the Radius slider to the right until the white edge is almost gone I dragged to 8. Then, under Adjust Edge, drag the Shift Edge slider to the left as shown here until the white edge disappears as you see here, where I dragged to —25 , then click OK.

See, that was fairly easy.

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Go to the Layers panel and, from the flyout menu at the top right, choose Flatten Image to flatten the image down to one layer. The image looks a little dark overall, so press Command-L PC: Ctrl-L to bring up the Levels dialog, and bring back some of the overall highlights by dragging the white Input Levels highlights slider right below the far-right side of the histogram to the left to brighten things up.

Step Lastly, I would do something to make the image a little more vibrant and applying an effect to the combined image helps unify the look. Go under the Image menu, under Mode, and choose Lab Color. Now, go under the Image menu again and choose Apply Image. This adds color and contrast. One of the biggest advantages of using Camera Raw is that it enables you to apply changes to one photo, and then easily apply those exact same changes to a bunch of other similar photos taken in the same approximate setting. Step One: The key to making this work is that the photos you edit all are shot in similar lighting conditions, or all have some similar problem.

In Mini Bridge, start by selecting the images you want to edit click on one, press-and-hold the Command [PC: Ctrl] key, then click on all the others. Choose Basic from the popup menu at the top, and it unchecks all the other stuff, and leaves just the Basic panel checkboxes turned on. Although it does work, it takes too many clicks, and decisions, and checkboxes, which is why I prefer the second method.

Step Five: In the second method, as soon as Camera Raw opens, click the Select All button to select all your images, then go ahead and make your changes. If you shoot in JPEG, your digital camera applies sharpening to your photo right in the camera itself, so no sharpening is automatically applied by Camera Raw. At the top of this panel is the Sharpening section, where by a quick glance you can see that sharpening has already been applied to your photo.

Step Two: If you want to turn off this automatic, by default sharpening so capture sharpening is only applied if you go and manually add it yourself , first set the Sharpening Amount slider to 0 zero , then go to the Camera Raw flyout menu and choose Save New Camera Raw Defaults as shown here. Now, RAW images taken with that camera will not be automatically sharpened.

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  8. Now the sharpening only affects the preview you see here in Camera Raw, but when you choose to open the file in Photoshop, the sharpening is not applied. Step Five: Dipping into the realm of the painfully obvious, dragging the Amount slider to the right increases the amount of sharpening. Compare the image shown here, with the one in Step Four where the Sharpening Amount was set to 0 , and you can see how much sharper the image now appears, where I dragged it to Step Six: The next slider down is the Radius slider, which determines how far out the sharpening is applied from the edges being sharpened in your photo.

    I only use a Radius of more than 1 when: 1 the image is visibly blurry, 2 it has lots of detail like this photo, where I pushed the Radius to 1. If you decide to increase the Radius amount above 1 unlike the Unsharp Mask filter, you can only go as high as 3 here , just be careful, because if you go too much above 1, your photo can start to look fake, oversharpened, or even noisy, so be careful out there in the next step, I set it back to 1.

    Step Seven: The next slider down is the Detail slider, which determines how much of the edge areas are affected by sharpening. The default Masking setting of 0 zero applies sharpening to the entire image. As you drag to the right, the non-edge areas are masked protected from being sharpened. This is particularly helpful in understanding the Masking slider, so press-and-hold the Option key and drag the Masking slider to the right.

    When Masking is set to 0, the screen turns solid white because sharpening is being evenly applied to everything. As you drag to the right, in the preview shown here , the parts that are no longer being sharpened turn black those areas are masked. Any areas you see in white are the only parts of the photo receiving sharpening perfect for sharpening women, because it avoids sharpening their skin, but sharpens the things you want sharp, like the eyes, hair, eyebrows, lips, edges of her face, and so on. It does this by reading the embedded camera data so it knows which camera and lens you used , and it applies a profile to fix the problem.

    Open the image with a lens problem in Camera Raw. So I always fix lens problems here, rather than using the Photoshop filter. Also, I usually have to back down the amount of correction just a bit with fisheye lenses by dragging the Distortion slider a little bit to the left as seen here. Take a look at the photo here. Step Four: I shoot Nikon cameras, so I pretty much knew this was taken with a Nikon, so from the Make field I chose Nikon, and as soon as I did, it did the rest—it found a lens match and fixed the photo. Here, I actually used the Our last two images were taken with a This is a pretty common problem for photos taken with a wide-angle lens on a full-frame camera this was taken with a 28—mm lens, at 28mm.

    I kind of like the mystery of the fog, but it is just kind of a mess overall. We can fix this in just a few clicks. It looks at the camera data embedded into your photo and, if it finds a match in its database, it applies the fix automatically, as it did here by flattening out the foundation of the building, removing the bloated look from the front of the palace, and removing the edge vignetting from all the corners.

    Step Eight: If you need more than a little tweak to the profile which we definitely do—look at how the building and tower are leaning back, back in Step Seven , then you need to click on the Manual tab and basically do it yourself. Note: The changes you make in the Manual tab are added on top of what you already did in the Profile tab.

    In this case, we need to fix the vertical geometric distortion, so drag the Vertical slider to the left, and as you do, keep an eye on the tower on the left. Your goal is to make it straight, so simply drag to the left until it is in this case, I dragged over to —43, as shown here. Step Nine: Go ahead and click the Open Image button to open the corrected photo complete with the dark gray gaps in Photoshop.

    To fix the squattiness not a word, I know and cover that dark gray gap at the bottom, get the Rectangular Marquee tool M , and clickand-drag it around the image, going across the bottom edge, right above the dark gray gap. Grab the bottom-center transform handle and drag the image straight down— stretching it to fill the dark gray gap at the bottom as shown here. Two birds.

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    One stone. Step Now, when it comes to those two gray triangles in the corners, you have two choices here: 1 The most common choice is simply to crop away those gray empty areas, so get the Crop tool C , drag it out over as much of the photo as you can without extending into the gaps, and then press Return. Get the Magic Wand tool press Shift-W until you have it , and click it once in a gray area to select it, then Shift-click in the other one. Go under the Select menu, under Modify and choose Expand, and enter 4 pixels ContentAware Fill seems to work better if you expand out your selection by 4 pixels.

    I learned that from Adobe themselves. Hey, look at that— it worked. Press Command-D to deselect the triangular areas. Then, press Command-T to bring up Free Transform as seen here. Step Press-and-hold the Command PC: Ctrl key, grab the top-right Free Transform handle, and drag upward to straighten out the tower as shown here. By the way, while Free Transform is in place, you can go to the Layers panel and lower the Opacity of this top layer so you can see the original tower below it.

    That way, you can match up the height correctly. Now, press the Return PC: Enter key to lock in your transformation. You betcha! I love it!!!! Step The final step would be to sharpen this puppy to death! For the first time, Adobe has included all the tools necessary to build a non-destructive workflow from upload to output. After reading this book, you might actually think that Photoshop is friendly, even easy. I know this sounds remarkable, but I firmly believe it," notes Derrick, who is O'Reilly's digital media evangelist.

    Adds Derrick: "If you're contemplating an upgrade to Photoshop CS4, but you're not sure if the new features are worth the investment, then read this book. For just a few dollars, you'll be introduced to the new photographer-friendly tools in Bridge, Adobe Camera Raw, and Photoshop itself. I suspect you'll be so excited that you'll order your upgrade right away. Indeed, to use Photoshop effectively, digital photography enthusiasts, prosumers, and professionals must know which tools they need and which ones they don't.

    As Derrick writes in the introduction, "think of it as your personal attendant," a well-organized resource guiding you to your own secret version of Photoshop that's just for photographers. In part, he does that by focusing photographers on the essential steps of an efficient workflow. With this guide in hand, you'll quickly learn how to leverage Photoshop CS4's features to organize and improve your pictures.

    Body Lotions Face Creams. Tents Accessories Lights Camping Bed. Billiard Fishing Toss Games. Business Writing Skills. Graphic Novels Comic Strips. My Wishlist.

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